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Cameras Quotes

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Cameras Quotes

“With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.”

“Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.”

“I have an Honors Degree in Drama from the University of Alberta, but when it was done I knew a life in modern theatre was not for me. While figuring out what the hell I might do instead of theatre, I spent a couple of days on a horror film doing stunt work. I'd never been behind the camera before, and I loved everything about it. I joined the local film co-op - The Film and Video Arts Society of Alberta - because you could trade skills for experience. These indie filmmakers were making their own stuff their own way, all the time. Instant education.”

“When I was writing the script, I knew didn't want to make a sports movie. I was very clear that I wanted to make a sibling rivalry story. So when I was writing the script, the football was getting in the way of the drama. One day, I saw Michael Haneke's Funny Games, which is probably the most violent film I've ever seen - but the violence is off camera. When I finished watching the film, I said, 'Hey, that's what I have to do.' Haneke gave me this solution.”

“McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.”

“[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.”

“It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.”